For the past eight months, I have had the privilege of acting in the role of Chief Executive for DevelopmentWA. As Western Australia’s land development agency, our role is to deliver strategic projects that will underpin sustainable communities, prosperous industries, and resilient regions for our State – both in the short-term and for decades
to come.

In order to fulfil this mandate, we must be agile, responsive to the needs of our communities today, and proactive in anticipating the needs of diverse stakeholders that may emerge in the future. 

Over the past year, this agile approach has led us to respond to the State Government’s priority of increasing the supply of affordable and social housing. We have optimised part of our organisation to support the delivery of built-form outcomes.

We’re investigating a number of projects in this area, including a build-to-rent development in the CBD, which highlights our agility and commitment to affordable and social housing. We’re working towards a partnership with a community housing provider to deliver new social and affordable apartments in the heart of our city, granting residents access to its amenities and attractions. This project showcases our willingness to explore new models and innovative approaches to support the critical need
for housing.

Another significant achievement is the progress made in the landmark Subi East redevelopment. The completion of the demolition at the former Princess Margaret Hospital site and the first land release for the project mark important milestones. The expressions of interest from developers for Lot 1 and Lot 2 at The Oval closed in March. We now eagerly anticipate announcing the successful proponent later in 2023.

Our commitment to enabling economic growth and job creation is evident across WA, particularly in our industrial projects. The Australian Automation and Robotics Precinct in Neerabup is already hosting testing activities and delivering cutting-edge solutions to the mining, defence, and agriculture sectors. Work on the Precinct’s landmark Common User Facility will commence soon, further advancing its capabilities. Additionally, the Australian Marine Complex in Henderson celebrates 20 years of successful operation and support for our State’s significant industries. With over 500 businesses established at the AMC, this complex has contributed more than $2.9 billion to the WA economy and created over 38,750 jobs during this time.

In our regions, we continue to unveil exciting developments. The release of the first concept illustrations for the highly anticipated hotel site at Middleton Beach in Albany has generated significant anticipation. In Broome, we have released a range of new homesites in the popular Waranyjarri Estate to meet growing demand and appointed an operator for the new early learning centre within the estate.

As we approach the new financial year, filled with fresh challenges and opportunities, I extend my sincere gratitude to our valued partners across government, industry, and the community. The collaboration and support we receive from these stakeholders are integral to our work. In line with our new mission statement, I would also like to express my appreciation for the hardworking and dedicated team at DevelopmentWA, who consistently deliver exceptional places for Western Australia.

I am delighted to present my second annual report as DevelopmentWA Chair and reflect on the achievements of our great team.

Recognising that sustainable communities are diverse communities, we acknowledge the importance of inclusivity. 

Our overarching commitment is to forge a sustainable future that not only enhances our State’s economic growth but also ensures prosperity for generations to come. At DevelopmentWA, sustainability is a clear focus and at the heart of all we do. As a reflection of this approach, we have combined our annual operations report with our sustainability report.

In line with our dedication to sustainability, we released our Net Zero Transition Plan 2.0. This comprehensive strategy outlines our pathway towards achieving net zero Scope 1 and Scope 2 emissions by 2025, while aiming to eliminate Scope 3 emissions between 2040 and 2050. Setting such ambitious targets is merely the first step; realising them requires resolute commitment and a bold strategy that becomes our new standard.

Earlier this year, we initiated a 12-month monitoring process at The Hub, our net zero demonstration building at Bentley Technology Park, enabling us to assess and optimise the building’s performance.

At Peel Business Park, the first industrial microgrid in Western Australia, now supplies renewable power to its occupants. Additionally, East Village in Knutsford showcases a range of sustainable design elements, including shared solar energy, electric vehicle facilities, native plantings, and blockchain-ready homes, transforming it into a living laboratory that inspires and informs others. Through such ground-breaking projects, we not only acquire invaluable insights but also de-risk innovation, paving the way for broader industry adoption.

We face complex challenges posed by rising interest rates, building costs, and a shortage of skilled labour. Addressing these challenges necessitates the concerted efforts of both the public and private sectors. Working closely with the Department of Communities will enable us to fulfil our commitment to providing safe and secure housing opportunities for all Western Australians, especially the most vulnerable among us.

Collaboration remains a key driver for success. We are committed to working together with industry and government to deliver transformative projects that make a lasting impact. Through these partnerships, we can overcome challenges, harness collective expertise, and drive innovation for the betterment of our State.

I am immensely proud of the accomplishments we have achieved and the dedication of our team in making a meaningful difference.

As we enter a new financial year, we welcome the Hon. Roger Cook MLA, as our new Premier. We look forward to supporting his Government’s objectives as we operate under the portfolio of the Hon. John Carey MLA, Minister for Lands and Planning.

I extend my sincere appreciation to our Minister and his office, my fellow Board members, our Executive Leadership Team, dedicated staff, and our many contractors and private sector partners.

Our vision is “Shaping our State’s Future” and looking towards 23/24 we’ve developed a new mission statement - Leading the creation of exceptional places for Western Australia.

Together, with our valued partners in government and the private sector, we will continue to work tirelessly to deliver these exceptional places for our State.

Kamsani Bin Salleh's first cast sculpture, the wardung (crow/raven) for Makuru, explores urbanisation, cultural resilience and expression. Inspired by observing crows foraging in the transformed environment, one bird emerges with food in its beak - a humorous mimicry evoking respect for the wardung's intelligence to thrive in alien surroundings.

The wardung's body composition represents Noongar hand signing, highlighting the enduring connection to language, dance, art and spiritual tethers to community, land and sky despite urbanisation. Bin Salleh believes in oral storytelling's importance, inviting viewers to decipher the hand symbols through community conversations providing wisdom or new friendships.

Capturing the wardung's resourcefulness, one form forages curiously while another flaunts its Djilba bush tucker bounty. The sculpture celebrates the bird's ability to find abundance in transformed landscapes, paralleling Noongar cultural perpetuation through adversity. Humorous yet reverential, it reveres the wardung's respected status.

Makuru

Makuru
Kamsani Bin Salleh

Through this sculpture, I wanted to draw a parallel between the wardung and Noongar language, as well as reference hand signals and the language of dance and art.

Kamsani Bin Salleh (Kambarni) is a multidisciplinary artist of Ballardong Noongar, Nimunburr and Yawuru descent from Western Australia. A multimedia artist and illustrator, he reflects the natural world through intricate designs and graphic interpretations of Australian histories, pre- and post-colonial.

Kamsani uses his art to share Aboriginal cultural knowledge, challenge notions of culture being static, and subvert often negative mass-media representations of First Nations peoples. Transitioning into public art, he aims to preserve oral histories through murals, installations and sculptures that encourage intergenerational storytelling and community understanding.

Makuru is named the season of fertility as a lot of animals find their mate and prepare for breeding in the coming seasons. Birds are chirping and Wardongs (ravens) are often seen flying in pairs during this time. Flowers that emerge in Majkuru include the blueberry lilly (Dianella revoluta) and Purple Flags (Patersonia occidentalis), while the white flowers of the weeping peppermint begin to bloom as the season comes to a close.

fauna and flora

djilba
Dellas Bennell

My artwork gives honour to the beautiful women in my life: my Mother, my daughter, aunties, cousins, friends, and for all the women in our diverse community.

Dellas Bennell is a Whadjuk, Wardandi, Wilman and Baiyungu artist and mother of three based in Bunbury. An established painter working primarily in acrylics on canvas, she employs both realist and contemporary styles.

Dellas’ work is inspired by her love of wildlife, native flora, and coastal living, depicting subjects like dolphins, turtles, eagles and orchids. Her paintings celebrate the uniqueness of Noongar art in the southwest region.

Alongside her daughter Korrine Bennell, Dellas runs the Karrak Designs art company. Together they have completed public art commissions for METRONET, City of Bunbury, and the Tonkin Gap project. Dellas has also had her work featured internationally through the Noongar Art to China Exchange.

Dellas Bennell's sculpture 'Yandi Wildflowers' represents the season of Djilba. In the Noongar language, yandi refers to the coolamon - a unique vessel used by women to carry water, bush foods, medicine and cradle babies.

The artwork pays tribute to the matriarchs - mothers and grandmothers - honouring the important women in Dellas life and their community. It reflects her joyful memories gathering wildflowers during Djilba, depicting an abundant collection including lilac hibiscus, native iris, blue orchids, Geraldton wax, spider orchids, donkey orchids, eucalyptus and peppermint gum leaves.

Featuring a blue-breasted fairy wren from Kings Park as her signature, Bennell's sculpture celebrates the beauty, strength and grace of the wildflowers mirroring the rich, enduring Noongar culture. For the Whadjuk artist, the seasons' transitions bring rejuvenation - a time for cultural activities, bush food gathering, and the flourishing of flora, fauna and new life.

Dellas 'Yandi Wildflowers' honoúrs her ancestors' traditions while highlighting the vibrancy of Noongar people and their profound connection to country.

Djilba

As the weather begins to warm, the Djilba season starts to see and hear the first of the new borns with their parents foraging and protecting their young. Woodland birds such as Magpies, Willy Wag Tails and the Chuck-a-luck are nest bound during this season, guarding and protecting their nests and their babies.

fauna and flora

kambarang
Jarni McGuire

Kambarang; being the season of birth, evokes my maternalism. My artwork is a response to my experience as a woman and a mother and how my body has changed through this time.

Jarni McGuire is a Whadjuk, Ballardong and Yuat Noongar artist raised in Boorloo (Perth). She loves bringing traditional Noongar stories and art into the modern landscape through her work.

While McGuire primarily produces digital art, she also enjoys working with acrylics on canvas and exploring new art forms. Her inspiration comes from her culture, using the Noongar language and listening to Elders' stories while following proper protocols. She believes much can be learned from various art forms and is passionate about sharing her culture in an authentic way, produced through proper consultation to ensure her community's pride.

As an emerging artist, McGuire is particularly interested in the six Noongar seasons project, believing the seasons significantly directed her people's movement, diet and way of life - capturing many aspects of their culture and connection to country. She is extremely conscious of ensuring her artistic expression is culturally appropriate and something her community can take pride in.

One of the most striking flowers that blooms during this time is called the Mooja, which is colloquially known as the Australian Christmas Tree. The bright warm tones of the orange and yellow flowers serve as a signal that the weather is starting to heat up.

fauna and flora

Jarni McGuire's sculpture for Kambarang honours the power of Aboriginal women and matriarchal roles. Raised with a strong cultural and linguistic presence, Jarni now explores her identity as an Aboriginal woman through her art.

Inspired by female leaders and Nanna Vivienne Hansen's sharing of women's traditional roles as food providers during Kambarang, the birth season, Jarni wanted to pay tribute to Indigenous women. Her work reflects on the transformative experience of motherhood and changing body.

An old image of an unclothed, radiantly strong Noongar woman prompted thoughts of the protective kulbardi (magpie) nesting in Kambarang. This evoked unforgettable memories of birthing her son - the primal instinct to hold him skin-to-skin and breastfeed, fostering an unbreakable maternal bond.

With a polished yet textured, imperfect surface reflecting life itself, Jarni’s sculpture emanates the resilience, nurturing power and sacred connections of Aboriginal women to family, culture and country's cycles. It celebrates the revered status of mothers as life-givers and perpetuators of ancient traditions.

Kambarang

birak
Rubeun Yorkshire

My sculpture represents the powerful energy that comes from the land and moves and flows, the energy that Noongar country brings forward with seasonal changes.

Rubeun Yorkshire is a multi-talented Noongar, Yamatji and Wangktha man and is a visual artist, dancer, choreographer, and actor renowned for his performance as Banquo in the Noongar language production of Macbeth. He co-choreographed Noongar-language dances for the 2022 Perth Festival and has been exploring his cultural connections through art since graduating from WAAPA in 2010. Rubeun has assisted on public art projects, painted murals statewide, and completed artworks for corporates and festivals, often collaborating with his grandfather and mentor. His sculpture represents the Birak season of December-January, aligning with his ethos of creating site-specific community artworks.

During this season, many young animals venture out, with some fledglings still staying close to parents, while reptiles shed their old skin. As temperatures rise and rainfall decreases, baby frogs also complete their transformation into adulthood.

fauna and flora

Rubeun Yorkshire's sculpture explores the interconnected flow and abundance across the Noongar seasons, beginning from the spark of life in Birak. Inspired by contour maps suggesting windswept movements, the work faces the culturally significant site of Galup (Lake Monger).

The three-dimensional form depicts the land through traditional Noongar linework representing dreaming and cultural continuation. Elevated concentric shapes mark visual representations of kep (water) - the life source rippling across time and space.

An expression of the powerful, flowing energy from country that calms when attentive to the Noongar land's seasonal essence, the sculpture draws on ochre's sacred value connecting and healing Yorkshire's people. The rusted corten steel evokes the regenerative cool burns still practised for the health of country.

birak

bunuru
David Jones

I was inspired by how my people would’ve hunted and gathered their food around the waterways. I wanted to depict the flow of water rolling around you while standing in the waterways.

David Jones is an Indigenous artist with connections to the Wiilman, Kaniyang, and Goreng Noongar Nations, as well as the Kimberley through his Bunuba bloodlines and the Warburton ranges through his Wangkathaa bloodlines. Predominantly a painter, he tells the journey and survival story of the Noongar people through his art, sharing pride, emotions, healing, and spirituality.

His Bidi Trail artwork evokes the Bunuru season of scorching temperatures when water becomes scarce, and his people traditionally migrated to rivers, lakes, and the coast for abundant food and comfort.

David’s sculpture aims to capture the swift, streamlined interaction of fish, water, and waves found in these water bodies during Bunuru, evoking the seasonal migration and resources that sustained his ancestors.

This season sees an abundance of white flowering gums like Jarrah, Marri and Ghost Gums in full bloom. The striking female Zamia (Macrozamia riedlei) cones also emerge, larger than their male counterparts, with masses of cotton wool-like substance. As the hot, dry weather persists, the cones' seeds turn bright red, ripening and attracting animals such as emus that eat the toxic fleshy outer covering.

fauna and flora

Bunuru is the season of scorching temperatures when water becomes scarce - a time when artist David Jones’ Noongar ancestors traditionally migrated to rivers, lakes and the coast in search of abundant food and comfort.

Jones' sculpture aims to evoke the swift, streamlined interaction of fish, water and waves found in these water bodies. The work speaks to the sensation of wading into the gleaming water mass, feeling its pressure slide and glide around the body when submerged waist-deep to escape Bunuru's searing heat.

Shaped to mimic the rolling waters enveloping the chest while standing submerged - a familiar feeling to Jones' ancestors during spearfishing and netting - the sculpture's top surface planes are sculpted with smooth, inviting grooves that highlight the cool, reflective polished aluminium.

The underside features a fish scale-like surface treatment responding to Bunuru's fishing, spearing, netting and feasting activities. Intended to be set amidst deep plantings, the metallic form twists and turns like the suggested water flow within the garden setting.

bunuru

Djeran
Lea Taylor

My work is about water, fire, regeneration, community and the strength of us and our culture. Standing strong, offering you, the viewer, an opportunity to reflect and learn as you journey along the Bidi.

Lea Taylor is a Wadandi, Menang, Goreng Bibbulmun artist from the Hill and Maher/Williams families. Inspired by her mother's creativity from a young age, Lea found her true passion for weaving and making booka (kangaroo skin cloaks) in her 50s after exploring art as a calming practice.

A self-taught weaver, she freely experiments with traditional and contemporary materials, incorporating found objects like bones, quills and feathers to give her culturally respectful work a unique edge. Influenced by Indigenous master weavers Yvonne Koolmatri and Ellen Trevorrow, as well as artist Judith Watson, Lea believes her ancestors guide her contemporary pieces that will become future cultural artifacts.

For the Subi East Bidi Trail project, Lea's 'Connection' sculpture represents the Djeran season of first rains allowing cultural burning for seed regeneration. These seeds nourish her people, become materials for tools and shelters, evoking the interconnected cycle her ancestors followed.

Traditionally, this was a time to consume seeds from the Zamia stored the previous season, as well as root bulbs from Bullrushes, freshwater fish, frogs, and turtles. As Djeran progresses and nights grow cooler and damper with some rainy days, the Noongar people would repair and waterproof their mia mias (shelters), positioning them to best withstand the coming deep winter months.

fauna and flora

Djeran ushers in cooler nights, dewy mornings and the first rains that ready the ground for cultural burning. These burns allow dormant native seeds to germinate, providing the plant foods necessary to sustain the Noongar community through the coming cooler season. During Djeran, yandjet (bull rush) dies off and its tubers, along with detoxified zamia seeds, become main food sources.

Lea Taylor's sculpture's three vertical structures represent the strong Bibbulmun community - maarman (man), yorga (woman) and koorlangka (child) - standing united on boodja (land). The textured outer shell is cast from Taylor's own woven material, showcasing the significant cultural practice of weaving. The polished inner surface invites reflection on the importance of culture and customs to the Bibbulmun people.

The forms evoke the cycle of fire allowing seed regeneration to provide sustenance, as well as the enduring strength of community passed through generations. Taylor's work celebrates Djeran's transition while honouring the traditions that have enabled survival.

DJERAN

Djeran
Lea Taylor

My work is about water, fire, regeneration, community and the strength of us and our culture. Standing strong, offering you, the viewer, an opportunity to reflect and learn as you journey along the Bidi.

Lea Taylor is a Wadandi, Menang, Goreng Bibbulmun artist from the Hill and Maher/Williams families. Inspired by her mother's creativity from a young age, Lea found her true passion for weaving and making booka (kangaroo skin cloaks) in her 50s after exploring art as a calming practice.

A self-taught weaver, she freely experiments with traditional and contemporary materials, incorporating found objects like bones, quills and feathers to give her culturally respectful work a unique edge. Influenced by Indigenous master weavers Yvonne Koolmatri and Ellen Trevorrow, as well as artist Judith Watson, Lea believes her ancestors guide her contemporary pieces that will become future cultural artifacts.

For the Subi East Bidi Trail project, Lea's 'Connection' sculpture represents the Djeran season of first rains allowing cultural burning for seed regeneration. These seeds nourish her people, become materials for tools and shelters, evoking the interconnected cycle her ancestors followed.

Traditionally, this was a time to consume seeds from the Zamia stored the previous season, as well as root bulbs from Bullrushes, freshwater fish, frogs, and turtles. As Djeran progresses and nights grow cooler and damper with some rainy days, the Noongar people would repair and waterproof their mia mias (shelters), positioning them to best withstand the coming deep winter months.

fauna and flora

Djeran ushers in cooler nights, dewy mornings and the first rains that ready the ground for cultural burning. These burns allow dormant native seeds to germinate, providing the plant foods necessary to sustain the Noongar community through the coming cooler season. During Djeran, yandjet (bull rush) dies off and its tubers, along with detoxified zamia seeds, become main food sources.

Lea Taylor's sculpture's three vertical structures represent the strong Bibbulmun community - maarman (man), yorga (woman) and koorlangka (child) - standing united on boodja (land). The textured outer shell is cast from Taylor's own woven material, showcasing the significant cultural practice of weaving. The polished inner surface invites reflection on the importance of culture and customs to the Bibbulmun people.

The forms evoke the cycle of fire allowing seed regeneration to provide sustenance, as well as the enduring strength of community passed through generations. Taylor's work celebrates Djeran's transition while honouring the traditions that have enabled survival.

DJERAN

Djeran
Lea Taylor

My work is about water, fire, regeneration, community and the strength of us and our culture. Standing strong, offering you, the viewer, an opportunity to reflect and learn as you journey along the Bidi.

Lea Taylor is a Wadandi, Menang, Goreng Bibbulmun artist from the Hill and Maher/Williams families. Inspired by her mother's creativity from a young age, Lea found her true passion for weaving and making booka (kangaroo skin cloaks) in her 50s after exploring art as a calming practice.

A self-taught weaver, she freely experiments with traditional and contemporary materials, incorporating found objects like bones, quills and feathers to give her culturally respectful work a unique edge. Influenced by Indigenous master weavers Yvonne Koolmatri and Ellen Trevorrow, as well as artist Judith Watson, Lea believes her ancestors guide her contemporary pieces that will become future cultural artifacts.

For the Subi East Bidi Trail project, Lea's 'Connection' sculpture represents the Djeran season of first rains allowing cultural burning for seed regeneration. These seeds nourish her people, become materials for tools and shelters, evoking the interconnected cycle her ancestors followed.

Traditionally, this was a time to consume seeds from the Zamia stored the previous season, as well as root bulbs from Bullrushes, freshwater fish, frogs, and turtles. As Djeran progresses and nights grow cooler and damper with some rainy days, the Noongar people would repair and waterproof their mia mias (shelters), positioning them to best withstand the coming deep winter months.

fauna and flora

Djeran ushers in cooler nights, dewy mornings and the first rains that ready the ground for cultural burning. These burns allow dormant native seeds to germinate, providing the plant foods necessary to sustain the Noongar community through the coming cooler season. During Djeran, yandjet (bull rush) dies off and its tubers, along with detoxified zamia seeds, become main food sources.

Lea Taylor's sculpture's three vertical structures represent the strong Bibbulmun community - maarman (man), yorga (woman) and koorlangka (child) - standing united on boodja (land). The textured outer shell is cast from Taylor's own woven material, showcasing the significant cultural practice of weaving. The polished inner surface invites reflection on the importance of culture and customs to the Bibbulmun people.

The forms evoke the cycle of fire allowing seed regeneration to provide sustenance, as well as the enduring strength of community passed through generations. Taylor's work celebrates Djeran's transition while honouring the traditions that have enabled survival.

DJERAN